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1 the Haydn and Hummel Trumpet The Haydn and Hummel Trumpet Concertos and Their Similarities C. Nathan Blinn Senior Paper (490) Professor Smith 25 November 2008 1 The Franz Joseph Haydn Trumpet Concerto (1796) and Johann Nepomuk Hummel Concerto for trumpet and orchestra (1803) are staples within trumpet literature. Players and listeners know many similarities exist between these concertos. They are so similar that many people believe that one copied the other. Through examining the history of these composers, instrument composed for, trumpet player composed for, style of the time and place in which the compositions were made, and outside musical influences, one can easily see why these two concertos have so many similarities. Movement three measures 194-202 of the Hummel (figure 1a) take the motive of movement three measures 86-92 of the Haydn (figure 1b) and develop it. A trill passage in movement three measures 218-232 of the Hummel is similar to the trill passage of Haydn’s movement three measures 249-256. Both compositions are set up in the common three movement form of first movement Allegro, second movement Andante, and third movement Allegro. The first movement of both works is in sonata form. The second movement of both works is in binary form. The third movement of both works is in sonata rondo form. The andante section of both works is either in, or feels like it is in compound meter. Citations for measure numbers of the Haydn concerto come from the Schirmer’s Library of Musical Classics published by G. Schirmer Inc. version of the concerto. Citations for measure numbers of the Hummel concerto come from the Roger Voisin edited version copyright by International Music Company. 2 Figure 1a. put in the key of C to see the similarities between the two concertos. Ian Pearson, “Johann Nepomuk Hummel’s “Rescue” Concerto : Cherubini’s Influence on Hummel’s Trumpet Concerto,” International Trumpet Guild Journal, May 1992, 18 Figure 1b. put in the key of C to see the similarities between the two concertos. Ian Pearson, “Johann Nepomuk Hummel’s “Rescue” Concerto : Cherubini’s Influence on Hummel’s Trumpet Concerto,” International Trumpet Guild Journal, May 1992, 19 Franz Joseph Haydn was born in Rohrau, Austria, on March 31, 1732. He was the second born into what would become a large family of twelve children. Every Sunday at home, Franz would hear music played by father Mathias and mother Anna Maria Koller. Through this experience, he learned to sing and play instruments by ear. When Franz was five years old, Johann Franck, a family member who was a principal and choir 3 director, began properly educating Haydn on topics including music. Haydn moved to Hainburg, Austria unaccompanied by his family in order to receive this education. He never returned home. At age eight, Haydn joined the St. Stephen’s Cathedral in Vienna, directed by Karl Georg Reutter. As a choir member, Haydn’s overall musicality was improved through sight reading. Besides being part of the choir, he was supposed to receive lessons from Reutter, but this never happened. At age seventeen, Haydn’s voice began to crack and change. Reutter removed Haydn from the choir leaving him with no housing or job. After leaving the choir, Haydn was taken in by the Spangler family where he was treated well. Anton Buchoholz, a Vienna Marktrichter and trader, loaned Haydn 150 florins with which he bought a garret (attic- like room) in a Vienna house called the Michaelerhaus. Here he studied texts including Kellner’s Unterricht in Generalbass, Fux’s Gradus ad Parnassum, Mattheson’s Der vollkommene Kapellmeister, and C.P.E. Bach’s Keyboard Sonatas. Haydn practiced the harpsichord frequently at the Michaelerhaus. Pietro Metastasio, a respected poet in Vienna and fellow resident of the Michaelerhaus, heard Haydn playing harpsichord and volunteered to teach him Italian. Metastasio arranged to have Haydn give piano lessons to Marianne Martinez, someone Metastasio had taken into his house. Martinez also took lessons with Niccolò Porpora, an established composer and vocal instructor in Vienna. Haydn was allowed to accompany Martinez at her lessons with Porpora. From Porpora, Haydn also took composition lessons, and learned more about singing and the Italian language. While still practicing violin, organ, harpsichord, and composition, Haydn began teaching lessons to many students. At this point in time, he was very busy working 4 long hours and sleeping little. In 1755, he composed string quartets for Karl Joseph von Fürnberg. Count Morzin hired Haydn in 1758 to compose for the orchestra. In 1761, Haydn took the position of Vice-Kapellmeister at Esterháza palace in Einstadt. This was under Kapellmeister Gregorius Werner and Prince Paul Esterházy. Haydn became the head Kapellmeister after Werner was gone. Later Prince Nicolaus took over as the head of Esterháza. Prince Nicolaus played the barytone, a stringed instrument similar to a bass viola, which attributes to the barytone compositions of Haydn. Haydn was also Kapellmeister under Prince Anton and Prince Nicolaus II. It is important to note that while in Vienna, Haydn and Wolfgang Amadeus Mozart met each other. Throughout the rest of their lives, they shared a great respect for each other. The styles of music of both of them changed out of admiration for the other1. Joseph Haydn had a brother, Michael, who was also a composer. This brother worked as the music director and concertmaster to the Archbishop of Salzburg. Here he was paid three hundred florins a year until his later life where this was doubled. Joseph received more than these six hundred florins after his first year at Esterháza. Michael said, “Give me an encouraging hand, like that lent to my brother, and I will not fall behind him.” 2 This shows that Michael was not happy with his brother because of the different opportunities provided. In 1760, Haydn married Maria Anna Aloysia Apollonia3. This marriage was unhappy for both of them. Both partners had affairs outside of the marriage. They never had 1 Karl Geiringer, Haydn: A Creative Life in Music (Berkeley and Los Angeles: University of California Press 1982), 80. 2 Karl Geiringer, Haydn: A Creative Life in Music (Berkeley and Los Angeles: University of California Press 1982), 73. 3 Karl Geiringer, Haydn: A Creative Life in Music (Berkeley and Los Angeles: University of California Press 1982), 37. 5 children. Haydn and Luigia Polzelli, a mezzo-soprano, had an affair beginning in 1780. Haydn would go on to compose and arrange many arias for her. She had children who many consider to be Haydn’s. These children were taught music by Haydn. Luigia and Haydn never married and split up years later. In 1783, Haydn was invited to London to take over as the Professional Concerts director, but declined because he did not want to lose his job at Esterháza. In 1791-1792, and again in 1794-1795, he toured London conducting and composing. These tours were very successfully received by the people in London. His compositional output during this time was also some of the greatest and most well-known works of his life. In 1803, Haydn quit composing in the middle of his op. 103, because he was ill. This was the end of his creative life. Around the time that Haydn stopped composing, Ludwig van Beethoven began to be a prominent figure in composition. Haydn died on May 31, 1809. During his life, Haydn was seen as a very good humored man. Even though he was very successful during his lifetime, he was humble about his success. This may be because he was born into a family with little money. Despite his meager beginnings, by the end of his life, Haydn was a wealthy man. During his life, he composed many forms and styles including masses, other sacred music, oratorios, secular cantatas-choruses, dramatic works, canons, dances or marches for orchestra or military band, string and wind instrument concertos, string quartets barytone works, and keyboard concertos. Johann Nepomuk Hummel was a child prodigy born in Pressburg (modern day Bratislava, Slovakia), on November 14, 1778. He began reading music and playing violin at the age of five and piano at the age of six. At age eight, Hummel went with his 6 family to Vienna to fulfill his father’s position as the musical director of the Theater auf der Wieden. In Vienna, Hummel began taking lessons from Mozart who was very impressed with the young student’s skills. After these lessons, young Hummel went on a four year tour (1789-1793) performing piano in cities including Prague, Dresden, Berlin, Magdeburg, Göttingen, Brunswick, Kassel, Weissenstein, Hanover, Celle, Hamburg, Kiel, Rensburg, Flensburg, Lübeck, Schleswig and Copenhagen. Father and son arrived in Edinburgh, Scotland in 1790, and both began teaching pupils. They taught enough lessons to support themselves financially and to get young Hummel English lessons. After three months, they continued touring and went to Durham, Cambridge, and London. They moved on to the Netherlands where they were forced out by the French Army, so they returned to Vienna in 1793 via Amsterdam, Cologne, Bonn, Mainz, Frankfurt and through Bavaria to Linz, where they rejoined the rest of the family. Hummel went to Vienna (1793) where he began teaching lessons and composing. He also took lessons from Georg Albrechtsberger in counterpoint, and from Antoio Salieri in vocal composition, aesthetics, and the philosophy of music. Haydn even taught Hummel organ lessons. In 1804, Hummel was given the position as the Kapellmeister, a position previously held by Haydn, by Prince Nikolaus II Esterházy at Esterháza. For Prince Nikolaus II, Hummel had to compose sacred music for chapel, teach the choirboys the piano, violin, and cello, and assemble a Haydn archive.
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